To honor Peter Matthiessen, who passed away over the weekend, The New Yorker unlocked part of one of the author’s best pieces of travel writing. The piece, titled “The Last Wilderness,” follows Matthiessen as he travels down the Amazon River. (His last novel comes out this week, as well.)
“The broad expansion of digital journalism has led to a growing overlap in the work and roles of newspapers, digital-only news sites, and magazines.” The Pulitzer Prize Board announced yesterday that both print and online magazines will be eligible for the 2017 journalism prizes. This doesn’t make up for 2012, but it’s an improvement.
We cover a decent number of literary awards here at The Millions, but we, like most magazines, have a tendency to focus on the present. At the LARB, Andrew Nicholls makes up for this by recounting the very first book awards, in which Mooluu’s “The Beast Attacked” goes head-to-head with Kurtan the Elder’s “Why Half My Face is Missing.” You could also read our own Mark O’Connell on why we care about literary prizes to begin with.
Sophia Nguyen writes for Harvard Magazine about the Dark Room Collective, a group of black writers of “starry critical mass whose impact on American letters continues to expand.” Pair with her Millions review of Collective member Tracy K. Smith’s new memoir, Ordinary Light.
Rick Gekoski, previously shortlisted for the PEN/Ackerley prize, talks about what it means to be a good literary loser, at Guardian: “And as soon as the winner is announced and it isn’t you,” Colm Tóibín observed, “the cameraman just walks away, and you are left there at the table trying to look composed, and you want to die.”
“In this age of 140-character Twitter posts — not to mention a persistent undercurrent of minimalism in our literature — there’s something profoundly rejuvenating about the very long sentence.” From Hrabal to Joyce to Hugo, Ed Park explores the history of the literary long sentence.